With great anticipation from his doting audience, David Williamson sat down to watch his final play ‘CRUNCH TIME’. After 50 successful years as a playwright, he is retiring.
It’s strangely fitting that his final play should be about the grim reality of death. Not only about dying with dignity, but family and sibling rivalry, a favourite theme of Williamson’s.
Director, Mark Kilmurry, writes in the program notes, “The main theme stems from within the family nucleus so ‘CRUNCH TIME’ is also about parents and children, husbands and wives, betrayal and ultimately love. It also happens to be very funny.”Continue reading CRUNCH TIME @ THE ENSEMBLE THEATRE→
To the curmudgeon who pontificated loudly, even during the show, that it wasn’t working. I don’t know you, even though we have been engaged in the closeness of watching theatre together. So I can’t take you for a drink to let you know that you are just plain wrong and need to take your elitist, out of touch, resistant attitude and just sod off. Me, and I could hear and see, the other 150 plus audience just loved THE HOLLOW CROWN, first in the two part ROSE RIOT season from Sport for Jove.
Playing at Bella Vista Farm, ROSE RIOT is two golden productions which are forged with vision, experience and coherent expression by a company who make bold choices, assemble extraordinary talent and encircle their audiences with enthralling beauty. There’s a reason why Shakespeare lends his name to an adjective. Reverence and relevance and the adventure of seeing the darknesses of great wrongs and the shiningness of majestic rights, all before our eyes with real voices, the musicality of poetry and a physicality that delights and engages. And ideas, always the ideas. Continue reading THE HOLLOW CROWN: A MAGNIFICENT PRODUCTION FROM SPORT FOR JOVE→
‘To really get to know a person you have got to get inside a person’s skin and walk around a while.’ Atticus Finch in Harper Lee’s ‘To Kill A Mockingbird’.
This famous quote holds as true as ever. We need to step outside of ourselves and into the ‘shoes’ of another human being to truly understand and accept them.
This is what British playwright Diane Samuels does with her play which explores what it was like to be a Kindertransport survivor. These were the Jewish children who the British Government rescued from the clutches of Nazism. Between the end of 1938 and the end of 1939 the British Government issued 10,000 permits to get children out, minus their parents, and provide them with safe passage to England, where they were taken in by foster parents who were ‘charged with’ trying to bring order and stability back into their lives.
The play follows the journey of Eva from the time she leaves Germany for England to her own middle-age as a long established British resident with an inquisitive grown-up daughter who is demanding to know more about her long ago past., Samuels’ play also includes a non-naturalistic, symbolic level with the use of extracts from an an eerie children’s story, ‘The Rat Catcher’.
Reverence My Sanctuary is inscribed in the proscenium arch of the stage. It is not purpose built as the play’s set but a remnant of the old Baptist Tabernacle Church that now hosts the Eternity Playhouse, an apt space to perform CONSTELLATIONS, Nick Payne’s play about multiple possible universes.
Director Anthony Skuse, captivated by the building’s interior structure, “notions of time, mortality and faith are inscribed in the building’s markings and scars”, with his production designer Gez Xavier Mansfield, has brilliantly placed the action of the piece in a sort of palimpsest, utilising extant structure- the dome curvature of the back wall suggests a celestial observatory – and inscriptions while introducing an oblique plinth and a couple of chairs placed askew to cue the off kilter, non-linear form of the play. Continue reading Constellations→
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